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Between 1974 and 1981 Ken Kesey self-published six issues of a literary magazine called Spit in the Ocean. After the revolutionary novelist's death in the fall of 2001, one of his closest friends, acclaimed writer Ed McClanahan, decided to carry out Kesey's vision and put together a final issue of Spit as a tribute to Kesey's genius and imperturbable spirit. Featuring contributions from cultural luminaries-including Robert Stone, Paul Krassner, Wendell Berry, Bill Walton, and Grateful Dead lyricists Robert Hunter and John Perry Barlow-as well as "regular folk," and several pieces by Kesey himself, Spit in the Ocean #7 is a loving and fitting homage to the gigantic and unique spirit of the merriest of the Merry Pranksters.
Following the leader of the notorious "Merry Pranksters" from his birth in Colorado to his literary success and the cross-country journey that inspired the "Electric Kool-Aid Acid Test," this candid biography chronicles the life and times of 1960s cultural icon Ken Kesey. Presenting an incisive analysis of the author who described himself as "too young to be a beatnik, and too old to be a hippie,” this account conducts a mesmerizing journey from author Mark Christensen's point of view, who grew up in Southern California and migrated to Oregon to be part of the Kesey "flock." From interviews with family members and those within his inner circle, this exploration reveals the bestselling author of One Flew Over the Cuckoo's Nest in his many forms, placing him within the framework of his time, his generation, and the zeitgeist of the psychedelic era.
In The Program Era, Mark McGurl offers a fundamental reinterpretation of postwar American fiction, asserting that it can be properly understood only in relation to the rise of mass higher education and the creative writing program. McGurl asks both how the patronage of the university has reorganized American literature and—even more important—how the increasing intimacy of writing and schooling can be brought to bear on a reading of this literature. McGurl argues that far from occasioning a decline in the quality or interest of American writing, the rise of the creative writing program has instead generated a complex and evolving constellation of aesthetic problems that have been explored with energy and at times brilliance by authors ranging from Flannery O’Connor to Vladimir Nabokov, Philip Roth, Raymond Carver, Joyce Carol Oates, and Toni Morrison. Through transformative readings of these and many other writers, The Program Era becomes a meditation on systematic creativity—an idea that until recently would have seemed a contradiction in terms, but which in our time has become central to cultural production both within and beyond the university. An engaging and stylishly written examination of an era we thought we knew, The Program Era will be at the center of debates about postwar literature and culture for years to come.
Mr Lucky, a tough teddy bear from Bayonne, NJ, journeys around the world and through the tunnels of time learning over a hundred poker variations from many fascinating characters.
This rollicking collection—personally selected by the author (in collaboration with his editor Tom Marksbury)—gathers the best of Ed McClanahan's work, making it a must–have for both long–time fans and newcomers alike. Comprised of fourteen works, I Just Hitched in from the Coast is an admixture of fiction and non–fiction, memoir and imagination. It includes such classics as "Fondelle, or: The Whore with a Heart of Gold," and the wry essay "The Day the Lampshades Breathed," chronicling McClanahan's time in the 1960s. In "The Essentials of Western Civilization," McClanahan imagines the affairs of Assistant Professor Harrison B. Eastep, MA, of Arbuckle State in Oregon, and of the gradual erosion of his dedication to academia. Weaving together Vietnam, rock and roll, a lackluster counterculture past, and the Great Plague of London, this is storytelling at its best by a master of the craft. The foremost stylist of the Yippie generation, McClanahan writes with bemused affection. He parlays his Southern sensibilities and California experiences with a mastery of language, to tantalize his readers with musings that are absurd, whimsical, outrageous, and, in the words of one reviewer, "wickedly sharp."
The magnificent second novel from the legendary author of One Flew Over the Cuckoo's Nest and Sailor Song is a wild-spirited and hugely powerful tale of an Oregon logging clan. A bitter strike is raging in a small lumber town along the Oregon coast. Bucking that strike out of sheer cussedness are the Stampers: Henry, the fiercely vital and overpowering patriarch; Hank, the son who has spent his life trying to live up to his father; and Viv, who fell in love with Hank's exuberant machismo but now finds it wearing thin. And then there is Leland, Henry's bookish younger son, who returns to his family on a mission of vengeance - and finds himself fulfilling it in ways he never imagined. Out of the Stamper family's rivalries and betrayals, Ken Kesey crafted a novel with the mythic impact of Greek tragedy.
The Hippie movement of the 1960s helped change modern societal attitudes toward ethnic and cultural diversity, environmental accountability, spiritual expressiveness, and the justification of war. With roots in the Beat literary movement of the late 1950s, the hippie perspective also advocated a bohemian lifestyle which expressed distaste for hypocrisy and materialism yet did so without the dark, somewhat forced undertones of their predecessors. This cultural revaluation which developed as a direct response to the dark days of World War II created a counterculture which came to be at the epicenter of an American societal debate and, ultimately, saw the beginnings of postmodernism. Focusing on 1962 through 1976, this book takes a constructivist look at the hippie era's key works of prose, which in turn may be viewed as the literary canon of the counterculture. It examines the ways in which these works, with their tendency toward whimsy and spontaneity, are genuinely reflective of the period. Arranged chronologically, the discussed works function as a lens for viewing the period as a whole, providing a more rounded sense of the hippie Zeitgeist that shaped and inspired the period. Among the 15 works represented are One Flew Over the Cuckoo's Nest, The Crying of Lot 49, Trout Fishing in America, Siddhartha, Stranger in a Strange Land, Slaughterhouse Five and The Fan Man.
A portrait of one of America's most profound and honest thinkers, this book combines biographical sketches, personal accounts, literary criticism, and social commentary to illuminate Berry as he is: a complex man of place and community with a depth of domestic, intellectual, filial, and fraternal attributes.
In his book about the discovery of the structure of DNA, James Watson wrote, “So we had lunch, telling ourselves that a structure this beautiful just had to exist.” Indeed, the quest most often asked by scientists about a scientific theory is “Is it beautiful?” Yes, beauty equals truth. Scientists know, mathematicians know. But the beauties, the truths of mathematics and science were not the truths that inspired the author as a child, and he intuitively knew that the truths he needed come from a different way of knowing, a way of knowing not of the world of logic and reason and explanation (though they have a value), but rather a way of knowing that is of the world expression, a world that enters the truths beyond the grasp of logic. That is what this book is all about. It is an exploration of the greatest minds of human existence struggling to understand the deepest truths of the human condition. This second edition updates the previous one, incorporating new publications on Van Gogh, recent discoveries in neurology, psychology, and the rapid developments in understanding DNA and biotechnology. We’ve come a long way already from that original discovery by Watson and his coauthor Francis Crick.